The raw and elemental presence of Ivan Mareš’s glass sculptures brings us close to nature, in particular the darkness and quiet of the forests and streams of northern Bohemia where he lives. His cast fragments of what might have been implements and once-taut cables hover on the edge of recognition, their vitreous and crystalline luminosity taking us to a material dimension beyond the archaeology of labour. Mareš uses drawing as a way to define this idea and leaves his cast work in a raw, sketched and fragmented state to continue this process of delineation, allowing us to draw upon our own experiences of objects and functionality to mentally complete his structures. With its empty core and ambiguous imagery, Spool wraps light into itself and draws us close, like insects to a window on a summer night or fish to a light on the surface of a lake.